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by Scott Juster

23 Feb 2012


The title of David Sheff’s 1993 book, Game Over, probably made a lot of sense at the time, considering Nintendo’s enviable position during the era of the book’s original publishing. Sheff’s sprawling account of the early video game industry uses Nintendo’s rise to power as a central narrative to tell the story of a young medium flexing new found muscle. Its subtitle, How Nintendo Zapped an American Industry, Captured Your Dollars, and Enslaved Your Children, is best considered as a little bit of publisher mandated mustard; nothing in the book is as alarmist or trite as those sentiments. Nintendo’s success wasn’t due to sneak attacks or black magic. It was thanks to talented artists, ingenious marketing, and shrewd business decisions. 

In the early 1990s, it seemed like the “game” to control the industry was over and Nintendo had won. Nintendo dominated the medium and looked poised to so indefinitely. Today, with the luxury of hindsight, Game Over takes on a different meaning; the early 1990s ended up being the beginning of the end of Nintendo’s singular dominance over the video game space. Ironically, many of the factors behind the company’s early success led to its subsequent troubles.

by G. Christopher Williams

22 Feb 2012


I’ve spent 68 hours in Isaac’s basement.  It’s a horrible place full of blood, vomit, and excrement.  But I keep going back.  I don’t why.

Okay, I do know why.

It’s a game about me.

by G. Christopher Williams

20 Feb 2012


While those of us who write in the Multimedia section focus a good deal of our time on video games, quite a number of us also have a certain fondness for games of a non-digital sort.

Rick Dakan, Jorge Albor, and myself got together a few weekends ago to discuss our boardgaming habits, the difference between the Eurogame and Ameritrash (sorry, Rick), and how being a computer gamer might relate to being a board gamer.

by Nick Dinicola

17 Feb 2012


I’ve always hated the online pass. I’ve always thought that it was inherently anti-consumer, a greedy nickel and diming of gamers, justified by the self-righteous call to “help the developer.” I’ve always hated it, except when I liked it.

I’ve always liked EA’s “Project Ten Dollar.” I’ve always thought that it was clever to reward people that bought a game new with a coupon with some free downloadable content. It’s positive reinforcement, a “you’ll catch more flies with honey” type of marketing. I’ve always liked it, except when I hated it.

by Jorge Albor

16 Feb 2012


I watched Jackie Estacado grab a man by the feet and then literally rip that man’s spine out through his anus, and I think I liked it. Afters hours of playing The Darkness II, I have disemboweled and torn to pieces so many screaming men that I fear for my sanity. Have I grown so accustomed to wanton slaughter that ripping someone in half evokes only a momentary shock before fading into the backdrop of video game violence? Now might be a good time to reassess that question of video game violence and gore in particular before we let gradual technological progress sneak moral questions past us while we remain fixated on the light show in front of us.

To be fair, there is a comical element to the ludicrous dismemberment portrayed in The Darkness II. Enemies all look like clones of each other and therefore lose their semblance of humanity pretty quickly. The mutated and mask-wearing opponents also distinguish themselves from regular human beings, making their messy and violent passing a little less disturbing. The game is also rendered in non-photorealistic cel-shading, giving everything a sketchy comic-book feel, distancing itself from our own moral universe.

//Mixed media
//Blogs

Emerging from My Hiatus from Big Budget Games

// Moving Pixels

"I'd gotten burned out on scope and maybe on spectacle in video games, but I think it's time to return to bigger worlds to conquer.

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